My wife and I watched this film last night on TCM (all hail) and we both enjoyed it. I get so tired of hearing comments about this and other films being "dated". What do you expect? I consider what other people call "dated" as direct links into what society was like at the time the film(s) was(were) written, kind of a celluloid sociology course. Lighten up! A movie that is forty-three years old isn't going to be a modern example of people, places, and things. Sheesh! Anyway, what I'll take from this film is that Ronny Howard WAS the finest child actor in films and television. Consider that, in 1963, at 9 years old, he was already doing the Opie-thing for 3 years. In this film, he acts nothing like Opie, he turns into a whole different child: Eddie Corbitt. The under-used Shirley Jones (big crush) was marvelous again, and Glenn Ford was supremely good at his self-styled "non-acting". Stella Stevens's drum solo scene is an excellent highlight. Also, did anyone recognize Clint Howard as a toddler at Eddie's birthday party scene? Or Rance Howard as a camp counselor?

Glenn Ford did two films with director Vincente Minnelli, the incredibly bad sound remake of The Four Horseman of the Apocalypse and this very good family film about a widower and his young son trying to get on with life after the wife and mother has passed away.

The Courtship of Eddie's Father in addition to being made into a long running television series with Bill Bixby, Miyoshi Umeki, and Brandon Cruz, still holds up very well after 44 years.

What makes the film is the very real chemistry between Glenn Ford and Ron Howard who was on hiatus from the Andy Griffith show to make this film. The Courtship of Eddie's Father is about two very real individuals trying to work through the hurt that's surrounding a very big hole in their lives.

Ford plays the manager of a radio station and Jerry Van Dyke has a nice role as Ford's best friend and one of the disc jockeys. Roberta Sherwood has the part of the housekeeper who's trying to learn Spanish, the part that Miyoshi Umeki did for television. As you can imagine it was rewritten somewhat.

There are three women interested in Ford at one time or another. Shirley Jones is the best friend of the deceased, living in the apartment across the way. Dina Merrill is the society lady that she is in real life. And Stella Stevens is the beauty queen from Montana who's got some hidden talents. One guess who Ford looks like he'll wind up with in the end. Give you a hint, it's the one Ron Howard wishes it is.

After the disaster of The Four Horseman of the Apocalypse, Minnelli owed Glenn Ford a good picture and he certainly delivered.

I used to love the early 1970's TV series which took its premise from this 1963 movie, so it was with some trepidation that I finally saw the original film directed by Vincente Minnelli. For such a family-oriented vehicle, his sometimes excessive film-making style shows up in subtle ways throughout the picture, and that's what primarily makes it interesting viewing now. The film starts out as an amusing domestic comedy, periodically hints toward deeper issues of grief and single parenthood, and then dives headlong into melodrama in the last half-hour. The result is pure Minnelli.

The other memorable aspect is eight-year old Ron Howard, sixth-billed and then known as Ronny, who delivers the central performance of Eddie without resorting to precociousness. More than his adult co-stars, he brings all the elements of the film together on an emotional level that resonates. Written by Tom Gay, the plot focuses on Eddie's attempts to reinvigorate the love life of his recently widowed father Tom. The likely candidate appears to be the pretty, recently divorced nurse next door, Elizabeth, but Tom and she start off on the wrong foot despite the fact that Eddie adores her. Efforts get refocused on Dolly, a vacuous, curvaceous girl they meet at the arcade, but Tom redirects her to womanizing disc jockey Norman. Tom then meets socialite Rita, whose glaring lack of a maternal instinct alienates Eddie to the point of running away.

All ends inevitably but not before some startling scenes like Eddie traumatized by the sight of his dead fish and Tom careening recklessly in his car to find Eddie (it looks like a similarly hair-raising scene on an Italian hillside road in Minnelli's "Two Weeks in Another Town"). In fact, the climactic argument between Tom and Elizabeth is surprisingly vitriolic for a family picture. Not the most charismatic of actors, Glenn Ford is solid as Tom, while a non-singing Shirley Jones plays Elizabeth with dexterity. The other performances are a bit more on the pat side - Stella Stevens lovably dim as Dolly, Jerry Van Dyke his recognizably unctuous self as Norman and Dina Merrill all slithery glamour as Rita. There are no extras with the 2004 DVD.